Wednesday, July 4, 2018

Woman Warrior: A Dialogue between Woolf and Kingston


Costumes of the Mind: A Dialog btw Orlando and the Woman Warrior
Ghost Ranch 2105


ORLANDO
WOMAN WARRIOR


Whenever she had to warn us about life, my mother told us stories that ran like this one, a story to grow up on.  She tested our strength to establish realities. . . (5)
1
He- for there could be no doubt of his sex, though the fashion of the time did something to disguise it-- was in the act of slicing at the head of a Moor which swung from the rafters.  (6)

 “Like a great saw, teeth strung with lights files of people walked zigzag across our land, tearing our /rice. … At first they threw rocks and mud at the house.  Then they threw eggs and began slaughtering our stock. . . One woman swung a chicken, whose throat she had slit, splattering blood in red arcs about her”  (3)


2
He was describing, as all young poets are for ever describing, nature, and in order to match the shade of green precisely he looked (and here he showed more audacity than most) at the thing itself, which happened to be a laurel bush growing beneath the window. After that, of course, he could write no more. Green in nature is one thing, green in literature another.  . . .
The shade of green Orlando now saw spoilt his rhyme and split his metre. (14 )

29    I learned to make my mind large, as the universe is large, so that there is room for paradoxes….. The dragon lives in the sky, ocean, marshes, and mountains; and the mountains are also its cranium. Its voice thunders and jingles like copper pans. It breathes fire and water; and sometimes the dragon is one, sometimes many.

3
Every single thing, once he tried to dislodge it from its place in his mind, he found thus encumbered with other matter like the lump of glass which, after a year at the bottom of the sea, is grown about with bones and dragon flies, and coins and the tresses of drowned woman. (74) 

When I dream that I am wire without flesh, there is a letter on blue airmail paper that floats above the night ocean between here and China.  It must arrive safely or else my grandmother and I will lose each other.  (50)
4
“Haunted!. . . Haunted every since I was a child.  There flies the wild goose.  He flies past the window out to sea.  Up I jumped . .  and stretched after it.  But the goose flies too fast. . .  Always it flies fast out to sea and always I fling after it words like nets. . .  which shrivel as I’ve seen nets shrivel down on deck with only seaweed in them.  And sometimes there’s an inch of silver –six words – in the bottom of the net.  But never the great fish who lives in the coral groves. (229)
My father first brushed the words in ink, and they fluttered down my back row after row.  Then he began cutting; to make fine lines and points he used thin blades, for the stems, large blades. ..  .The list of grievances went on and on,  If an enemy should flay me, the light would shine through my skin like lace. (34)

5
Orlando curtseyed; she complied; she flattered the good man's humours as she would not have done had his neat breeches been a woman's skirts, and his braided coat a woman's satin bodice. Thus, there is much to support the view that it is clothes that wear us and not we them; we may make them take the mould of arm or breast, but they mould our hearts, our brains, our tongues to their liking.”

The swordswoman and I are not so dissimilar.  …What we have in common are the words at our backs. … The reporting is the vengeance—not the beheading, not the gutting, but the words. And I have so many words—"chink" words and "gook" words too—that they do not fit on my skin. (53)

6
“No passion is stronger in the breast of a man than the desire to make others believe as he believes. Nothing so cuts at the root of his happiness and fills him with rage as the sense that another rates low what he prizes high.” (110)
Then – heaven help him – he tried to be charming, to appeal to me man to man.  “Oh come now. Everyone takes the girls when he can.  The families are glad to be rid of them. ‘girls are maggots in the rice.’ ‘It is more profitable to raise geese than daughters.’” He quoted the sayings I hated. (43)

10
A man who can destroy illusions is both beast and flood. Illusions are to the soul what atmosphere is to the earth. Roll up that tender air and the plant dies, the colour fades. The earth we walk on is a parched cinder. It is marl we tread and fiery cobbles scorch our feet. By the truth we are undone. Life is a dream. ‘Tis waking that kills us. He who robs us of our dreams robs us of our life (149)

165   My silence was thickest--total--during the three years that I covered my school paintings with black paint. I painted layers of black over houses and flowers and suns, and when I drew on the blackboard, I put a layer of chalk on top. I was making a stage curtain, and it was the moment before the curtain parted or rose.”

7
And when we are writing the life of a woman, we may it is agreed, waive our demand for action, and substitute love instead.  Love, the poet has said, is woman’s whole existence.  And if we look for a moment at Orlando writing at her table, we must admit that never was there a woman more fitted for that calling.  Surely. . . she will soon give over this pretense of writing and thinking, and begin to think, at least of a gamekeeper (and as long as she thinks of a man, nobody objects to a woman thinking). (198)

No husband of mine will say, “I could have been a drummer, but I had to think about the wife and kids.  You know how it is.”  Nobody supports me at the expense of his own adventure. Then I get bitter: I am not loved enough to be supported. That I am not a burden has to compensate for the sad envy when I look at women loved enough to be supported. Even now China wraps double binds around my feet.” (48)

8
The person, whatever the name or sex, was about middle height, very slenderly fashioned, and dressed entirely in oyster-coloured velvet. . ..  But these details were obscured by the extraordinary seductiveness which issued from the whole person. . . When the boy, for alas a boy it must be – no woman could skate with such speed and vigor – swept almost on tiptoe past him, Orlando was ready to tear his hair out that the person was of his own sex, and thus all embraces were out of the question. (28)
“She looked at a man because she liked the way the hair was tucked behind his ears, or she liked the question-mark line of a long torso curving at the shoulder and straight at the hip. (8)

9
The beautiful, glittering name fell out of the sky like a steel blue feather.  She watched it fall, turning and twisting like a slow falling arrow that cleaves the deep air beautifully.    … And as Shelmerdine, now grown a fine sea captain, hale, fresh-coloured, and alert, leapt to the ground, there sprung up over his head a single wild bird…”

I opened the tent flap.  And there in the sunlight stood my own husband with arms full of wildflowers for me, “you are beautiful” he said, and meant it truly.  “I have looked for you everywhere.  I’ve been looking for you since that day that bird flew away with you” (39)
10
Memory is the seamstress, and a capricious one at that. Memory runs her needle in and out, up and down, hither and thither. We know not what comes next, or what follows after. Thus, the most ordinary movement in the world, such as sitting down at a table and pulling the inkstand towards one, may agitate a thousand odd, disconnected fragments, now bright, now dim, hanging and bobbing and dipping and flaunting, like the underlinen of a family of fourteen on a line in a gale of wind.” (58) 

“Long ago in China, knot-makers tied string into buttons and frogs, and rope into bell pulls. There was one knot so complicated that it blinded the knot-maker. Finally an emperor outlawed this cruel knot, and the nobles could not order it anymore. If I had lived in China, I would have been an outlaw knot-maker.”
11
For if there are (at a venture) seventy-six different times all ticking in the mind at once, how many different people are there not --Heaven help us – all having lodgment at one time or another in the human spirit? . . .  these selves of which we are built up, one on top of another, as plates are piled on a /waiter’s hand, have attachments elsewhere, sympathies, little constitutions and right of their own. . .  so that one will only come if it is raining, another in a room with green curtains . . . (225)
I could not understand “I.”  The Chinese “I” has seven strokes, intricacies.  How could the American “I,” assuredly wearing a hat like the Chinese, have only three strokes, the middle so straight?  Was it out of politeness that this writer left off strokes the way a Chinese has to writer her own name small and crooked?  (166  )


12
  But Time, unfortunately, though it makes animals and vegetables bloom and fade with amazing punctuality, has no such simple effect upon the mind of man. The mind of man, moreover, works with equal strangeness upon the body of time. An hour, once it lodges in the queer element of the human spirit, may be stretched to fifty or a hundred times its clock length; on the other hand, an hour may be accurately represented on the timepiece of the mind by one second. (72)
I saw two people made of gold dancing the earth's dances. They turned so perfectly that together they were the axis of the earth's turning. They were light; they were molten, changing gold – Chinese lion dancers. . . , Then the dancers danced the future – a machine future – in clothes I had never seen before.  I am watching the centuries pass in moments because suddenly I understand time, which is spinning and fixed like the north star. (27) 
13
Was not writing poetry a secret transaction, a voice answering a voice?. . . What could be more secret, she thought, slow, and like the intercourse of lovers, than the stammering answer she had made all these years to the old crooning song of the woods, and the farms and the brown horses standing at the gate neck to neck. . .  and the gardens blowing irises and fritillaries.  (238) 
At last I saw that I too had been in the presence of/ great power, my mother talking-story.  After I grew up, I heard the chant of Fa Mu Lan, the girl who took her father’s place in battle.  Instantly I remembered that as a child I had followed my mother about the house, the two of us singing about how Fa Mu Lan fought gloriously and returned alive from war to settle in the village.  I had forgotten this chant that was once mine, given to me by my mother who may not have known its power to remind.  She said that I would grow up to be a wife and a slave, but she taught me the song of the woman warrior, Fa Mu Lan. (19)







Woolf's Orlando and Georgia O'Keeffe: Cross Currents


Orlando and O’Keeffe: Cross-Currents
Ghost Ranch 2015

Hi. I am Elisa Kay Sparks. I am a printmaker and an academic.  I specialize in color-reduction woodcuts, often related to Virginia Woolf and /or Georgia O’Keeffe.  As an academic I publish on Woolf and flowers and gardens and explore connections between Woolf and her American contemporary. 

Since Woolf and O’Keeffe are kind of the inspirational goddesses behind AROHO at Ghost Ranch, I thought I’d give you a brief overview of the connections between them, hopefully in a way which may also serve as a bit of an intro to what Woolf was trying to do in Orlando – that brilliant but bewildering romp of a book.

Woolf and O’Keeffe never met.  In March of 1925, their works were neighbors, two of O’Keefe’s flagpole paintings (in black & white) were placed (probably by Marianne Moore) next to an odd little essay about a female entomologist  by Woolf in an issue of The Dial, a transatlantic arts magazine which regularly reviewed the work of both women.[1]  O’Keeffe certainly knew of Virginia Woolf, probably through their mutual friend, the painter Dorothy Brett, who followed D.H. Lawrence out to Taos and spent the last half of her life painting Native American ceremonial dances. O’Keeffe had 5 books by Virginia Woolf in her library at the time of her death, including Orlando and a copy of To The Lighthouse sent to her by Virginia’s niece, Angelica Garnett after a visit with O’Keefe in her Abiquiu home in 1981.[2]

Aside from these few attenuated links, the two women had much in common due in part to their positions as the canonized female modernist in their respective genres of painting and fiction. Although Woolf was born five years earlier than O'Keeffe (in 1882 rather than 1887), both did extensive reading and thinking about the attack on conventions of realism in Post-Impressionist art theory and both were committed feminists who sought to create a distinctly female rhetoric of modernism, experimenting with how the shapes in a woman’s mind could be put on paper and how traditional images and plots could be altered to create a feminine aesthetic expressing their rebellion against gender conventions.

One way to trace the similarities in the two women’s points of view is to look at some of the notable experimental techniques and thematic concerns in Orlando and compare them with similar methods and images used by O’Keeffe.

·       BOTH ARTISTS RADICALLY CHALLENGED GENRE CONVENTIONS in ways that also challenged GENDER EXPECTATIONS. O’Keeffe took the traditionally feminine genre of flower painting and exploded its gentle decorative realism into giant, geometrical declarations of androgynous sexual imagination – flower parts big enough to be carnivorous. Woolf took the traditional chronology of biography and exploded its boundaries beyond the unitary self, substituting the dusty begats of ancestry with the idea of a historically continuous self, composed of many selves and variable sexes.

·    Both artists were also concerned with challenging expectations by introducing radical new PERSPECTIVES, looking at things from different angles and at different scales.  Both share the interest in what is small and every day and often ignored, specializing in the startling close-up detail.  There is little middle ground in either artist’s work: either we get intimate intense close-ups or we get panoramic vistas, with the two often confusingly juxtaposed. Compare O’Keeffe’s vast desert vistas with a close-up of a hovering bone or flower to Woolf’s panoramas of the Great Frost or Augustan London, punctuated with details of jewels and costumes, shades of light, people’s face in a crowd.

·       Both women also often delight in turning expectations on their heads. One way that O’Keeffe subverts traditional realism is by re-orienting her canvases.  Some of her most enigmatic, compositions become readable landscapes when turned on their sides. And sometimes her flowers turn into portraits. The shifting referentiality of O'Keeffe's orientations is similar to how Woolf “typically employs allusive, unlocateable speakers” (Homans 3), providing us in Orlando with a traditional biographer whose clearly limited  and highly ironic point of view is confusingly mingled with that of another narrator  who knows a good deal more, as well as Orlando him/her self who also seems to have rather incomplete access to the contents of his/her own mind.  Neither artist wants us to be sure of where the I/eye is. [3]

·       As part of their exploration of perspective, both artists often work in SEQUENCES, looking at the same subject not only from different angles but also in different contexts or at different levels of abstraction or knowledge.  Think of O’Keeffe’s famous series of Jack-in-the-pulpits, which move from realism through stages of abstraction to a singular focus on only the spathe at the center of the jack.  This is similar to how Woolf takes Orlando through various time periods: who would Orlando be as a boy? As the Turkish ambassador? Returning to England as a woman? In the Victorian Age? In the Present Day?

Both women were outsiders: O’Keeffe as woman painter; Woolf as a lesbian writer.  Both fought against the censorship of their gender identities. In order to combat the over-Freudianization of her abstractions which were taken to be literal equivalents to her female body, O’Keeffe defiantly took to painting the startlingly hermaphroditic sex organs of giant plants.  Brilliantly out-maneuvering those who would censor her love letter to another woman, Woolf created a hero who could legitimately love a woman as a woman because he once had been a man.  Both women have much to teach us about seeing against the current, the current day as well as the currency of convention.




[1] See my article “The Dial as Matrix: Periodical Community between Virginia Woolf and Georgia O’Keeffe.”  Virginia Woolf & Communities: Selected Papers from the Eight Annual Conference on Virginia Woolf, ed.  Jeanette McVicker and Laura Davis.  Pace University Press, 2000.  Also my website charting their connections in The Dial:  http://people.clemson.edu/~sparks/dial/

[2] For more on the connections between Bloomsbury and the American southwest, see my article  “"Bloomsbury West: London Bohemians Find a New World in the American Southwest," in Woolf Editing / Editing Woolf: Selected Papers from the Eighteenth Annual Conference on Virginia Woolf. Ed. Eleanor McNees and Sara Veglahn. Clemson University Digital Press, 2009. 160-5

[3] My first attempt to systematically compare Woolf and O’Keeffe’s stlytistic feminism was in  "'A Match Burning in a Crocus': Modernism, Feminism, and Feminine Experience in Virginia Woolf and Georgia O'Keeffe." In Virginia Woolf: Themes and Variations: Selected Papers from the Third Annual Conference on Virginia Woolf. Vara Neverow-Turk and Mark Hussey, eds. NYC: Pace UP, 1994. 296‑302.

Roger Fry: Biblio


Bibliography on Roger Fry

EDITIONS
Gillespie, Diane F., ed.  Roger Fry: A Bibliograhy.  Shakespeare head Press Edition.  London: Blackwell's, 1995


CRITICISM
Briggs, Julia-- Chapter on RF and SKoP in VW: An Inner Life. Penguin/ Allen Lane, 2005pp. 338-69.
 Hirsh, Elizabeth. “Writing as Spatial Historiography: Woolf's Roger Fry and the National Identity.” pp. 203-16 IN: Regard, Frédéric (ed. and introd.); Wall, Geoffrey (preface and epilogue) Mapping the Self: Space, Identity, Discourse in British Auto/Biography. Saint-Etienne, France: Université de Saint-Etienne; 2003.
Gillespie, Diane F. “The Texture of the Text: Editing Roger Fry: A Biography.” pp. 91-113 IN: Haule, James M. (ed. and introd.); Stape, J. H. (ed. and introd.) Editing Virginia Wolf: Interpreting the Modernist Text. Basingstoke, England: Palgrave; 2002.
Johnston, Georgia. “Virginia Woolf Revising Roger Fry into the Frames of 'A Sketch of the Past'.”  Biography: An Interdisciplinary Quarterly, 1997 Summer; 20 (3): 284-301.
Gillespie, Diane F. “The Biographer and the Self in Roger Fry.”  pp. 198-203 IN: Daugherty, Beth Rigel (ed.); Barrett, Eileen (ed.) Virginia Woolf: Texts and Contexts. New York: Pace UP; 1996.
Kooistra, Lorraine Janzen. “Virginia Woolf's Roger Fry: A Bloomsbury Memorial.” Woolf Studies Annual, 1996; 2: 26-38.
Cooley Elizabeth. Revolutionizing Biography: Orlando, Roger Fry, and the Tradition.”  South Atlantic Review, 1990 May; 55 (2): 71-83.
Broughton, Panthea Reid. “'Virginia is anal': Speculations on Virginia Woolf's Writing Roger Fry and Reading Sigmund Freud.”  Journal of Modern Literature, 1987 Summer; 14 (1): 151-157.
Kiely, Robert. “Jacob's Room and Roger Fry: Two Studies in Still Life.”  pp. 147-166 IN: Kiely, Robert (ed.); Hildebidle, John (ed.) Modernism Reconsidered. Cambridge: Harvard UP; 1983.
Lewis, Thomas S. W. “Combining 'the advantages of fact and fiction': Virginia Woolf's Biographies of Vita Sackville-West, Flush, and Roger Fry.” pp. 295-324 IN: Ginsberg, Elaine K. (ed. & pref.); Gottlieb, Laura Moss (ed. & pref.); Trautmann, Joanne (introd.) Virginia Woolf: Centennial Essays. Troy, NY: Whitston; 1983.

SS: Unwritten Novel --Compilation of Critical Notes


Compilation of Critical Notes on “An Unwritten Novel”

Fox, Stephen D.  “’An Unwritten Novel’ and a Hidden Protagonist.”  Virginia Woolf Quarterly 4, 1973: 69-77.
Fleishman, Avrom, "Forms of the Woolfian Short Story."  44-71 in Virginia Woolf: Revaluation and Continuity, ed. Ralph Freeman (1980).
57            “form of serial presentation, with a significant final term.”
                  “the movement from novelistic imaginings to the hard kernel of reality is paralleled by the movement of the train which carries the observer and the observed”
We might consider this an example of parallel linear form, in which the spatial sequence and the perceptual sequence move along together to a joint arrival.

Davenport, Tony. "The Life of 'Monday or Tuesday."  Virginia Woolf: New Critical Essays, ed. Clements and Grundy.  (1983): 157-75.

Marcus, Jane.  “Taking the Bull by the Udders: Sexual Difference in Virginia Woolf—a Conspiracy Theory.”  Virginia Woolf and the Languages of Patriarchy. Bloomington: IUP, 1987. 137-62.
Dick, Susan.  "Chasms in the Continuity of Our Way: Jacob's Room."  Chapter Two of Virginia Woolf.  London & New York: Edward Arnold, 1989.

Head, Domininic.  The Modernist Short Story.  Cambridge UP, 1992.
85            “Woolf here uses The Times as an obvious symbol of factual and ordered descriptive writing -- (’births, deaths, marriage, Court Circular, the habits of birds, ….) -- which compromises an obstacle between the writer and human nature. 

Staveley, Alice. “Voicing Virginia: The Monday or Tuesday Years” pp. 262-67 IN: Daugherty, Beth Rigel (ed.); Barrett, Eileen (ed.) Virginia Woolf: Texts and Contexts. New York: Pace UP; 1996.

Séllei, Nóra.  The Snail And ‘The Times’: Three Stories "Dancing In Unity." Hungarian Journal of English and American Studies (HJEAS) 3.2 [BRITISH STUDIES ISSUE] (1997): 189-198 (UwN 192-4)
                  Deals with the story in the usual vein of it being a revelation of the failed attempt to create character with no evidence in the “written novel”, but incorporates the idea that the “unwritten novel” about the narrator’s mind celebrates her affirmative choice to continue to create in the face of the inevitable epistemoloical gap between subject and object (194).
192         “the narrator, obviously Woolf’s persona
193         Newspaper “functions as a symbol of self-evident conclusions, of ready-made truth, of facts served daily as life, as a repository of the essence of existence”
                  “The times and life are considered each others correlatives, but ultimately they are essentially contrasted.  … the story of life as constructed by the the Times is constantly invaded, torn open, and defeated by the other story of life, by the story of the womenan.  …newspaper “is presented in military metaphors, as something which tries, in vain, to defend its own truth”  (quotes shield passage)

Lojo Rodríguez, Laura María “Parody and Metafiction: Virginia Woolf's 'An Unwritten Novel'.”Links and Letters, 2001; 8: 71-81.  ILL 8/29/15

72            “a short piece which parodies realism by laying bare the functioning of its conventions while opening the way to new fictional modes of understanding literature.”

73            “Woolf rejected the literary forms that corresponded to this ordered reality, such as the emphasis on plot, causal relationships and authoritative omniscience”

74            a metafictional narrative that “draws attention to itself and to its process of construction, which is openly made visible and self-reflecting”  explores a theory of fiction through the practice of writing fiction.”

75            title of “UnWN” “suggests the process of story-telling rather that emphasizing the story itself”

                  “Ironically, all the situations and background which make up Minnie’s life draw from worn out realistic conventions and constitute a parody of them

76            “There is a long connection in Virginia Woolf’s writing btw fiction-making and train-journeying, which invariably becomes an image of it”  “Byron and Mrs. Briggs” (1922)  “Character in fiction” (1923) and “Mr B and Mrs B” (1924).

77            n. 6 “Hilda, is, ironicaly enough, the name of one of Arnold Bennett’s most famous heroines”


Levy, Michelle. “Virginia Woolf's Shorter Fictional Explorations of the External World: 'Closely United … Immensely Divided'.” pp. 139-55 IN: Benzel, Kathryn N. (ed. and introd.); Hoberman, Ruth (ed. and introd.); Dick, Susan (foreword) Trespassing Boundaries: Virginia Woolf's Short Fiction. New York, NY: Palgrave Macmillan; 2004.
139           used short stories “her most sustained exploration of the human relation to the external world..
140           MWà man and snail assert “independent existence of the external world’
143           SYMPà

Skrbic, Nena. Wild Outbursts of Freedom: Reading Virginia Woolf's Short Fiction  Westport, CT: Praeger; 2004.
40            UN “built on a sense of lost stories and histories” Takes us on a trip thru the mind “speculation about the significance of knowledge.”
                  “story foregrounds the realization that knowledge is not absolute… metaphor of portraiture introduced at the start…. People in train are all reticent, shut in.  “We are back in Plato’s cave, trying to discover the world through out own illusions
41            “Woolf raises skepticism about the legitimacy of the writer’s attempt ata creative solution to the paradox between realism and definition”  
                  story is a series of “false starts”
                  “decision to emphasize rather than conceal all the structural elements” [of the story] serves to underline the notion of unanswerability”
                  sees “dot, dot, dots” as painting as story…  “how a canvasas is constructed of colored dots..”
“The resulting narrative shows a character that is not allowed to present itself coherently”      
author is “no longer in a privileged position:.. “endow the story with a n element of voteurism, paranoi and fear of exposure”
42            “opposition btw being in transit and never going anywhere”
                  uses “body language as a nonverbal structuring element” sees this also as a painterly strategy.. sees twitches etc. as “moments of definitive transparency”
171         question is UN is “about mirroring a psychological truth back to the reader or are they ultimately meditations on the various construction of representation?”
                  “the Woolfian short story often offers only the allure of a potential narrative” 

Briggs, Julia. ‘Our Press Arrived On Tuesday’: Monday Or Tuesday (1921).” Chapter 3 of  Virginia Woolf: An Inner Life.  London: Penguin[Allen Lane] 2005. 58-83.
58            “Mod Fiction”  “no plot, little probability and a vague general confusion in which the clear-cut features of the tragic, the comic, the passionate, and the lyrical were dissolved beyond the possibility of separate recognition” 
60            decision to buy printing press
61            MoW “visionary monologue on the nature of perception” … “It follows a train or flow of though, yet the movement of thought and feeling is also its subject.”
                  Thinker “contrast this flux of though and memory with the external, regulated world of common assumptions and social expectations”
62            LETTER OF July 24, 1917 to Cline:  “its high time we found some new shapes dont you think so?”
63            Katherine Mansfield.  Garsington..  “A kind of, musically speaking—conversation set to flowers”
64            “Three Jews” also set in Kew Gardens
66            alternation of human conversations with vegetable world of flower bed
68            VW’s short stories “examples of the ‘unrepresentational art’”  Vanessa’s abandonment of surface realism “concentrate on the impact of form and structure on painting”
70            idea of “significant from”
71            democratization of experience of art
72            modernist concentration on the world lived inside the mind.. concentrate on act of thinking/writing, like visible brushstokes
73            joyce’s Ulysses – indecency
74            TSE – boy’s club.. Hogarth Press.
75            female modernists: Dorothy Richrdson (‘stream of consciousness”)
76            exploitation of flights of fancy  “railway game” of attributing character on basis of appearance.
77            UwN “voices an implicit protest against fiction that simplifies and sums up human being, regarding them as primariy the product of their circumstances”
                  “evocation of suburban life parodies the popular novelist Arnold Bennett.”
79            MoT: Haunted House,
A Society”
80            depressed at praise for Lyton’s Queen Victoria
81            new edition of Kew in 1927—NOT WOODCUTS.

Adrian Hunter.  The Cambridge Introduction to the Short Story in English… 2007.
69            “’AUWN’ can be read as a narrative of the decisive turn in Woolf’s own career”

Prudente, Teresa. “To Slip Easily from One Thing to Another': Experimentalism and Perception in Woolf's Short Stories.” Journal of the Short Story in English, 2008 Spring; 50: 171-183.

Reynier, Christine. “The 'Obstinate Resistance' of  Woolf’s Short Story.” Journal of the Short Story in English, 2008 Spring; 50: 2-5.

Reynier, Christine. Virginia Woolf's Ethics of the Short Story. Palgrave Macmillan (August 18, 2009).
Huculak, Matthew “Meddling Middlebrows: Virginia Woolf and the London Mercury.”Virginia Woolf Miscellany, 2009 Fall-Winter; 76: 16-18.


Levy, Heather.  The Servants of Desire in Virginia Woolf’s Shorter Fiction.  NY: Peter Land, 2010.